Interpol
Spirit, Dublin, 13 October 2002
Often if a band comes out of nowhere, like
The Strokes seemed to, their surrounding musical community is snapped up by
salivating A&R Men with dollar signs in their eyes. There's money to be made if
you're from New York, can hold a guitar and wear a skinny tie.
That brings us nicely to Interpol. From New York, they forsake punk influences
for a more varied New Wave sound. They may dress like the offspring ofThe Cure and Joy
Division, but there are hints of the snapping tension of Magazine and the
vulnerability of The Wedding Present tonight.
For the band's first visit to Ireland touring their 'Turn on the Bright Lights'
debut album, Spirit is too big a venue. There's a cavernous gulf between stage
and crowd due to the optimistic promoter's choice of hall. Still, as the opening
reverb drenched notes of 'Untitled' echo slowly around Spirit an atmosphere
establishes itself, one of Interpol's detachment. "I will surprise you
sometime / I'll come around" drawls singer Paul Banks, hinting at the
possibility of what's to come.
What comes is a reward for the hardy few hundred who make their way here
tonight. The drone of 'Untitled' gives way to 'Obstacle 1', a brilliantly
crafted piece of gothic new wave. Guitarist Daniel Kessler picks and stabs at
his guitar in a way that would make Television proud. Across the small stage
stands bassist Carlos D. He may sport the most ridiculous fringe seen since
Suede's Brett Anderson, but he coaxes Peter Hookesque bass lines with ease from
his guitar.
What's also impressive is the lack of repetition in the songs. The
verse-chorus-verse formula that can plague bands isn't evident here. Songs like
'Stella was a diver and she was always down' twist and turn
unpredictably, keeping things fresh. Despite songs breaking the dreaded
five-minute length, they always managed to hold the punter's interest.
Then there's the Lou Reed-like confessional 'Hands Away'. It begins in eerie
quietness and builds on Banks' bleak voice and skeletal guitar with a frail
intensity. Even 'NYC', gratingly like U2 on record
breathes and grows tonight. As Interpol play on with their air of icy
detachment, they draw the audience in more and more.
By the time 'Obstacle 2' is played the audience are almost falling onto the
stage, huddled around intimately. They're hanging on every word and doing that
weird dancing-but-not-quite-dancing that could only have stemmed from the '80s.
This prompts the previously silent (at least between songs) Banks to name the
bond between band and audience 'a beautiful thing'
So tonight ends in triumph, but for now as with any young band, Interpol are a
product of their influences. When they outgrow their musical forefathers things
could get really interesting.
Paddy McDonnell
